Brent Marchant's Blog, page 64

‘Rebuilding Paradise’ chronicles the heroic rebirth of a devastated community

“Rebuilding Paradise” (2020). Cast: Erin Brockovich-Ellis, Michelle John, Phil John, Steve “Woody” Culleton, Carly Ingersoll, Matt Gates, Zach Boston, Brendan Burje, Krystle Young, Marcus Nelson, Justin Cox, Kayla Cox, Zeke Lunder. Director: Ron Howard. Web site. Trailer.

When all is lost, the will to start over is put to the test. For some, it may be too much. But, for others, those who have the fortitude to recover and begin anew, the challenge may be difficult but not insurmountable. So it has been for many of the residents of a community who experienced utter devastation firsthand, a story chronicled in the riveting and moving new documentary, “Rebuilding Paradise.”

On the morning of November 8, 2018, life in the small northern California town of Paradise changed forever. During a red flag fire season warning, the unthinkable happened: A spark from a Pacific Gas & Electric (PG&E) transmission line set the surrounding woodland on fire. That initially small blaze, combined with an ample supply of timber that had dried out from years of drought and strong upper winds, quickly spread the fire. As the flames raced toward the historic community, residents had virtually no time to flee for their lives, let alone most of their possessions, leaving their residences behind to be incinerated. And, despite efforts to evacuate, the catastrophe still claimed the lives of 85 people, some of whom were overcome by fire in their vehicles in a desperate attempt to escape.

One of the largest and deadliest wildfires in state history decimates the historic town of Paradise, California in director Ron Howard’s new documentary, “Rebuilding Paradise.” Photo © by Noah Berger, courtesy of National Geographic.

When the flames were finally extinguished, Paradise had been, for all practical purposes, destroyed. The community’s 26,000 residents soon found themselves displaced, and, with nearly all of the town’s structures obliterated, the fire-weary survivors had nowhere to go. Some fled permanently, while others were fortunate enough to find accommodations with relatives in neighboring towns. But, for the rest, this marked the beginning of a displacement to temporary facilities that would go on for months – or longer.

“Rebuilding Paradise” chronicles the saga of the townsfolk through this harrowing ordeal. Beginning with the tragedy itself, the film graphically depicts the horror of the fire with terrifying footage shot from within the inferno. It then shows the aftermath, both on the ground and from above, of a blaze that unrelentingly ravaged the landscape. But the bulk of the documentary examines how Paradise residents have managed in the time since the disaster – their attempts at coping psychologically, their efforts to begin the rebuilding process, their campaign to seek monetary damages from the utility company responsible for the firestorm (aided by consumer advocate Erin Brockovich-Ellis) and their quest to establish new lives for themselves.

Director Ron Howard tells the story of Paradise through the lens of a number of everyday citizens. There’s Police Officer Matt Gates, who played a pivotal role in helping to evacuate Paradise residents on the day of the fire and in assisting in organizing events to boost the morale of the community after the tragedy. School Superintendent Michelle John and her husband, Phil, chairman of the Paradise Ridge Fire Safe Council, worked tirelessly to help get the town’s schoolchildren into makeshift classrooms and to orchestrate ceremonies for the high school’s graduating seniors. Steve “Woody” Culleton, the 74-year-old self-described town drunk who eventually recovered and went on to become mayor, helped lead the charge for homeowners seeking to rebuild their residences, plowing through the seemingly endless red tape that only compounded an already-difficult situation. School psychologist Carly Ingersoll took on the role of crisis counselor to assist students in coping with their circumstances, a responsibility made more difficult by her own trauma, having nearly perished in the fire herself.

The aftermath of the November 2018 wildfire that destroyed Paradise, California reveals a community in ashes, as seen in the gripping new documentary, “Rebuilding Paradise,” now available for first-run online streaming. Photo courtesy of National Geographic.

In addition to those who played such crucial roles during and after the ordeal, the film profiles those seeking to shape what’s to come. Graduating high school seniors Zach Boston and Brendan Burke, representatives of what is hoped to be the future of Paradise, introspectively reflect on what they lost – and what they hope to regain – as their community attempts to rebuild. Pyrogeographer Zeke Lunder, who helps manage the surrounding forests, particularly where carefully coordinated controlled burns are concerned, speaks to the importance of astute stewardship of the woodlands that make the area such a desirable place to live – and how to keep it safe from future catastrophes. And then there are the families, represented here by Justin and Kayla Cox and Krystle Young and Marcus Nelson, who have been displaced and are looking to make fresh starts, despite the many hardships they face with living space, employment and even marital discord, traumas brought on by a disaster that they never foresaw.

The film also reveals problems that most viewers probably never thought about. For example, there’s the severe environmental impact that has resulted from the release of enormous amounts of toxic chemicals dispersed by the fire. These substances, such as benzene, have become embedded in the ash that coats the landscape, poisoning the soil and even sinking down into the groundwater, making it unsafe for drinking, showering and cleaning, a problem even affecting the few who were fortunate enough not to have lost their homes in the fire. On top of that, asbestos released from older structures that burned now makes certain parcels of land, such as the site of one of the town’s destroyed schools, too dangerous to enter without hazmat suits. Obviously the cleanup effort here involves more than just the removal of charred debris.

Complicating matters even further are the bureaucratic nightmares that have stifled the rebuilding process. Issues involving FEMA, for example, have hindered the approval of permits for new homebuilding, problems brought about by questions involving regulations and, in turn, the funding to comply with them. Indeed, how can residents begin to move ahead if they can’t even get out of the starting blocks? As if there weren’t enough stress in residents’ live already.

Paradise Police Officer Matt Gates played a pivotal role in helping to evacuate his community during the deadly wildfire that destroyed the historic northern California town as chronicled in director Ron Howard’s new documentary, “Rebuilding Paradise.” Photo courtesy of National Geographic.

However, despite these many challenges, there’s always the human spirit to counteract them, and residents certainly have plenty of that in reserve, as evidenced in the film. They know what it was like to have found paradise, and they certainly don’t want to see it lost forever. Rebuilding Paradise may take a Herculean effort, but mankind has done this before – and there’s no reason why it can’t be done again here, making it possible for Paradise to be restored once more.

Throughout history, man has sought to establish a utopian way of living in a setting that reflects those values. And, over the years, a number of films have attempted to depict this undertaking, such as director Frank Capra’s legendary classic, “Lost Horizon” (1937). So it’s indeed quite heartening that the founders of this historic northern California town would choose the name “Paradise” to characterize the effort they undertook in building and growing their community. However, as the devastation of the fire proved, “paradise” is something precious that requires committed protection to preserve and sustain its existence, for it can be all too easily lost and difficult to recapture.

Rebuilding a burned-out community is indeed a daunting task. With roughly 95% of Paradise destroyed, there’s much to be replaced to restore the town to what it once was. Overcoming the grief associated with this loss alone is a feat calling for extraordinary effort. But, as debilitating as this might seem, this tragedy also provides an opportunity for rebirth, a chance to not only re-create the Paradise that was lost, but to make one that’s even better than before, one that learns from the mistakes of the past to usher in a bright future. To some, that may seem unlikely given what the community is up against. But, for others, it’s a venture to be tackled with the same spirit as those who built it in the first place. It’s an endeavor that they believe in, and that’s crucial to their success, for those beliefs are essential in making the outcome happen. They’re the essence of the conscious creation process, the philosophy that maintains we draw upon these resources in manifesting the reality we experience, including the paradise that they (and that most of us) claim to seek.

School Superintendent Michelle John joyfully officiates over ceremonies for the 2019 commencement class of Paradise High School, the first group of seniors to graduate after the November 2018 wildfire that destroyed their community, as depicted in “Rebuilding Paradise.” Photo courtesy of National Geographic.

It’s unclear whether or not the residents of Paradise have heard of this philosophy. But, for those who are committed to rebuilding the community – especially those who have already begun taking the steps to make it happen – it’s apparent that they have a good handle on the principles involved in bringing their dream into being. They recognize the value in this undertaking, and they’re dedicated to making it happen, their belief in the notion steadfastly rooted in their consciousness and, subsequently, in their actions.

Taking on a venture like this is staggering. While it’s true that California has experienced some huge and horrendous fires over the years, virtually nothing compares with this blaze. The aftermath of this incident even calls into question the wisdom of building in a fire zone like this. However, as a number of residents point out, is it wise to establish communities in Tornado Alley, along hurricane-prone seacoasts or in known flood zones? We all have to live somewhere, they contend; why should fire risk be considered any more off-limits than the potential damage that can be caused by any of these other disasters?

To rebuild the town in the wake of the fire and to eliminate some of the hazards that contributed to the devastation, those responsible for devising solutions must seek to overcome limitations that may have previously held them back or that they couldn’t see past in coming up with workable answers to these challenges. That’s where beliefs once again play a role. By stretching their vision and looking for previously untried (or even previously unconceived of) ideas, they have an opportunity to overcome the pitfalls of the past and to establish new paths for the future. The residents of Paradise set an inspiring example for those facing similar dilemmas – and opportunities.

Former Mayor Steve “Woody” Culleton rebuilds the home he lost in the firestorm that destroyed the historic northern California town of Paradise, as chronicled in director Ron Howard’s new documentary, “Rebuilding Paradise,” now available for first-run online streaming. Photo courtesy of National Geographic.

It’s also important to note that this is a co-creative effort, one where all the residents of Paradise contribute their thoughts, beliefs, intents, energy and support to rebuild the town. It even includes the input of those who were part of the problem, such as PG&E; after all, the residents of a new Paradise are still going to need electricity, albeit power that’s delivered in a safer manner. For instance, according to a company representative appearing in the film, the antiquated transmission lines that sparked the blaze were built in 1921, and footage shows how easily infrastructural elements like wooden poles in this outmoded system can catch fire. To prevent that from recurring, the company has committed to rebuilding its delivery network with underground lines, a huge and expensive restructuring of its power grid. But, then, tremendous tragedies require tremendous solutions, as this venture illustrates.

This co-creative effort has other dimensions to it as well. In addition to the physical build-out of the community’s homes, businesses and infrastructure, there’s also the quest to seek justice for the damage done by the responsible parties, especially for those families that experienced loss of life. The film illustrates this through one woman’s effort to seek restitution for the loss of her elderly incapacitated father, whose charred wheelchair was found in what was his garden as he made a failed attempt at escape. Conscious creation maintains we’re responsible for what we manifest, including those who run major corporations. Such entities must be held accountable for their actions, especially when they carry consequences that affect others.

In a larger sense, the film also raises the question of global climate change and how it may have contributed to this calamity. While the film doesn’t belabor this point, it nevertheless points out how, as citizens of the Earth, we must all work together in addressing this issue. Using footage from a variety of natural disasters around the world, the film shows how incidents like the Paradise fire are just one example of the devastation that’s being wrought by these tragedies – and in greater frequency and intensity. If we truly all profess to care about the paradise that is this planet, we had better start getting our acts – and our beliefs – together on this front before it’s too late.

The Cox Family, Justin (left) and Kayla (right), take up residence in a mobile home after the wildfire that destroyed Paradise, California claimed their home, a story chronicled in director Ron Howard’s new documentary, “Rebuilding Paradise,” now available for first-run online streaming. Photo by Lincoln Else, courtesy of National Geographic.

To a certain degree, evidence of working on this can be seen in the efforts of pyrogeographer Zeke Lunder, whose controlled burn program is designed to clear the forest floor of underbrush that can easily ignite during wildfires and send embers up into the air where it can ignite flames on mature trees. This may be only one small step, but it’s part of the larger effort that is this co-creative undertaking. It may not seem like much, but everything contributes – and helps – in the greater scheme of things.

While the devastation that came out of this tragedy was indeed staggering, there were the proverbial silver linings, too. For example, when the fire encroached on the home of Michelle and Phil John, they received an invitation to come stay with Michelle’s cousin Roni and her husband, Shin, with whom they had been embroiled in a 20-year family feud – an invitation that came unsolicited from Roni and Shin. Even though the Johns’ home was damaged but left standing, Michelle and Phil accepted the invitation and moved in, ending the feud, healing the old wounds and prompting the two couples to become best friends. Who says something good can’t come out of something bad?

In the end, it’s truly inspiring to see what community residents have undertaken to rebuild their town. It’s a reflection of the pioneer spirit that went into its initial establishment. But, perhaps even more importantly, it’s illustrative of the human spirit that seeks to overcome its adversities, no matter how difficult, to recover our losses and to create anew in the spirit of conscious creation philosophy. And, to put an exclamation point on this effort, the name “Paradise” reinforces what its residents are attempting to build, a name that says it all when it comes to characterizing what they’re genuinely trying to manifest for themselves and their progeny.

Director Ron Howard, in a rare documentary effort, does an excellent job in examining the impact of this deadly wildfire, the widespread fallout that has come in its wake and the heroic campaign to begin again. This heart-wrenching yet hopeful offering details the pain and suffering, along with the little victories, experienced by virtually everyone in the community, as well as their determination to rise from the ashes, literally and figuratively. It’s not often that a documentary will move viewers quite as profoundly as this one does, evoking both tears and joy – and making us appreciate what we have and what we can lose in a heartbeat. “Rebuilding Paradise” is easily one of Howard’s best productions in quite a long time and a film well worth seeing. The picture is available for first-run online streaming and in limited theatrical screenings.

The power to overcome can be quite formidable, greater than many of us know, especially when we put our minds (and our beliefs) to it. Our resilience under such duress is a testament to the power behind our ability to create, even under the most dire circumstances. There’s a Paradise that exists within each of us, and it’s possible to bring it forth into being if we believe in the notion. The residents of a small California town are proving that, showing the way for the rest of us and, despite the challenges involved – and succeeding.

Copyright © 2020, by Brent Marchant. All rights reserved.

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Check out The Cinema Scribe

Tune in for the latest Cinema Scribe segment on Bring Me 2 Life Radio, Tuesday, August 4, at 2 pm ET, available by clicking here, following the premiere of the network’s newest broadcast, Afternoons With The Dudes, available by clicking here. And, if you don’t hear these great shows live, catch them later on demand, with new listening options available! In addition to Spreaker, the show is now available on iHeart Radio, Spotify, Podcast Addict and Podchaser!

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Tune in for the Dudes

Join me, host Selo Closson and a panel of modern men for the premiere of a new monthly Internet broadcast, Afternoons With The Dudes, Tuesday August 4 at 2 pm ET, in which we’ll discuss a topic not often addressed by the male of the species — feelings. Click here for details and the stream. Hope you can join us!

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This Week in Movies with Meaning

Reviews of “Yes, God, Yes,” “Colewell” and “Aniara” are all in the latest Movies with Meaning post on the web site of The Good Media Network, available by clicking here. 

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‘Colewell’ examines the opportunities and heartache of change

“Colewell” (2019). Cast: Karen Allen, Kevin J. O’Connor, Hannah Gross, Daniel Jenkins, Craig Walker, Malachy Cleary. Director: Tom Quinn. Screenplay: Tom Quinn. Web site. Trailer.

Change – some of us dread it, while others among us welcome it with open arms. Whichever camp we fall into, however, we all have one thing in common – we have to make adjustments in our lives when change makes its appearance. How well that goes (or doesn’t go) depends on how we approach what confronts us and how well it integrates into our existence, a challenge faced by an aging postmaster in the thoughtful character study, “Colewell.”

For 35 years, Nora Pancowski (Karen Allen) has enjoyed a comfortable, predictable, enjoyable routine, but now, quite unexpectedly, she has come to a major crossroad in her life. The 65-year-old manager of the post office in rural Colewell, Pennsylvania has been informed that the facility is being closed due to U.S. Postal Service budget cuts. She’s now up against the prospect of retiring or taking a position at a postal facility in another town, one that will force her to relocate or face a long daily bus commute. And she doesn’t know what to do; she’s not ready to retire, but she’s not prepared for starting over in such a radical new way, given that the Colewell post office operates out of her own home under contract with the USPS.

Nora’s not the only one affected by this news. Local residents see the post office as the center of the community, using it as a friendly, informal meeting place and not just as where they get their stamps. Closing the facility would have a major impact on the sense of connection among the residents of Colewell, a notion that postal officials enforcing the decision (Daniel Jenkins, Craig Walker) have no concept of. And, for Nora, the closure would be particularly difficult, considering that she lives alone and has few friends except for her customers and fellow postal employee, Charles (Kevin J. O’Connor), who makes the daily bulk mail delivery to the facility.

Colewell residents are not about to take this news lying down, however, retaining a lawyer (Malachy Cleary) to fight the decision. Nora quietly supports the effort but does not become actively involved in the legal dealings for fear that her participation might jeopardize her retirement benefits or job prospects with the USPS. And, as the townsfolk vociferously come to her defense during a community meeting on the subject, she’s emotionally overwhelmed by everything that’s come down, stunned by developments that have hit her so quickly and so intensely. However, despite the fervent efforts of Colewell residents, they’re all for naught, their arguments falling on the deaf ears of the Postal Service bureaucrats.

Strangely, it’s actually somewhat ironic that Nora is reluctant to embrace this impending change. When younger, she had quite the sense of wanderlust, hitchhiking all over and living the life of an unattached free spirit. However, once she met her husband and settled down in Colewell, she felt a sense of grounding come over her, a feeling that she had finally found a place she could call home. At the time of the USPS announcement, Nora’s husband is no longer in the picture (his absence never definitively explained), but that doesn’t change her feelings for the place she calls home – and her desire to stay put.

Despite the disruption this announcement causes, this scenario gives Nora much to think about, especially when she receives a visit from Ella (Hannah Gross), a metaphorical embodiment of Nora’s younger self. Ella, it seems, is a hitchhiker who travels the country much as Nora once did, stopping off for temporary stays at the homes of a network of friends, like Nora. Over dinner one night, Nora and Ella discuss their respective lives and pasts, giving them each an opportunity to ponder their choices and to consider their futures. But even the benefits of hindsight and a sounding board don’t make matters any easier for Nora as she faces what is arguably the most difficult decision of her life.

Change, by its nature, is often disruptive. In many cases, despite the upheaval, it’s frequently positive, showing us new ways of doing things and improving our quality of life. However, in other instances, change can be devastating, especially when it results in a wholesale transformation and drastically affects those not prepared for it. Yet, as the old adage maintains, change is the only constant in our lives, so it really shouldn’t come as any great surprise when it occurs.

So why does it seem like such a shock when change shows up on our doorstep? It’s probably because we become set in our ways, having grown comfortable with our circumstances. We trust that life will go on as we’ve always known it, content to see the preservation and perpetuation of the existence we’ve come to embrace. But why does this happen? Why are we so resistant to shifts in our lives and routines? Why is it so difficult to adjust to change? Is it a matter of complacency, or is it something else entirely?

While comfort and contentment can certainly explain part of this equation, they don’t necessarily tell the whole story. To a great degree, resistance often arises from our belief that circumstances will remain the same without alteration. And recognizing that is significant, for our beliefs provide the basis of the conscious creation process, the philosophy that maintains we draw upon this resource in manifesting the reality we experience. That includes beliefs associated with the continuity of our existence, notions that can become so powerful and persistent over time that they might even spawn beliefs espousing a denial of the possibility of change. Such developments can lead to a rather rude awakening for those not expecting it when it appears.

Yet, if we use our beliefs to create our reality, that means our beliefs are also the source of the change that manifests in our lives. The outcome originates with us, even if we’re not consciously aware of it. And such a lack of awareness may make dealing with these developments difficult. It’s as if we’re sucker-punched by our own consciousness, leaving us confused, disillusioned and upset – especially when we find out who and what is behind these radical shifts in our reality. One can only imagine how Nora would feel about this if she were to realize who was ultimately driving the change that seems to have been so capriciously and unceremoniously thrust upon her and her world.

So, if we’re so averse to having such circumstances materialize in our lives, why do we manifest them for ourselves in the first place? As with any creation, the reasons are our own, and it’s up to us to figure out why we’ve drawn them to us. However, one possible explanation has to do with one of the cornerstone principles of the conscious creation process – that everything is in a constant state of becoming, continually evolving from one manifestation to the next as existence seeks to discover itself and all of its possible permutations through our respective life experiences. Should that unfolding be stifled or allowed to stagnate, though, a tremendous pressure to clear that metaphysical blockage may build up, eventually erupting in a burst of tremendous change, a measure designed to get the evolutionary process back on track. Such breakthroughs can be quite jarring, to say the least, and their impact may be overwhelming, especially to those who try to keep these developments from occurring by erecting belief walls to prevent them from occurring. One can only imagine the disruption and disorientation that can result in such scenarios, something that Nora and the residents of Colewell find out for themselves when they receive the USPS closure notice.

Obviously this development affects Nora most since it impacts her livelihood, her home, her connection to her community, and, most importantly, her future. And, admittedly, that’s a lot of change being thrown at her all at once. So why would she attract so much upheaval into her life in one fell swoop? Again, her reasons are her own, but the film provides us with some possible clues.

Given that Nora’s life has been virtually unchanged for nearly four decades, a good case could be made for the need to clear the evolutionary blockage that has been allowed to settle in and prevent new growth and development. On some level, Nora’s subconscious may have decided that this situation had to be rectified, even if it meant imposing change through drastic means. Viewers get hints of this in the film, such as during her dinner with Ella, when Nora reminisces about her hitchhiking days, a period in her life when she wasn’t tied down and freely followed her impulses to go where she wished whenever the spirit moved her. Ella’s very presence serves as a reminder of this as well, prompting Nora to reflect on the carefree lifestyle she once so readily relished. Maybe Nora needs to get some of that back, considering that she’s put it on hold for so long. That’s particularly true in light of her advancing age; at 65, how many more opportunities will she have for being able to freely and easily examine unexplored aspects of her existence? If she’s like most of us, she probably doesn’t want to come to the end of her life with regrets for not having pursued interests and adventures that she passed up for the sake of familiar comfort and contentment.

While taking advantage of those unexamined opportunities may not be easy for a senior who’s allowed herself to grow contented with her longstanding circumstances, that’s not to say it’s impossible. After all, Nora proved her resourcefulness to herself in her youth, and there’s no reason to believe that she can’t tap into that again. It may require her to become creative in her approaches, thinking outside the box and pushing through seemingly intractable limitations. At the very least, it necessitates that she look at her future as having more choices than just retirement or relocation. Conceiving other options could indeed take some work, but, if she puts her mind (and beliefs) to it, she just might hit upon something unexpectedly wonderful, making her a more effective conscious creator – and building an even better life for herself. Whatever happens, though, the outcome rests with her – and whether she’s open to seeking it out.

This quiet, meditative character study thoughtfully examines the difficulty that can come when changes are imposed on those least equipped to handle such drastic developments late in life. While not much happens in this story, and while some aspects of the narrative are not fleshed out as fully as they could have been, the film nevertheless presents an insightful and compassionate look at coping with transition, a tale brought to life through the superb and understated lead performance of Karen Allen. It also tells the story of an aging but formidable woman, one who has more power than she gives herself credit for, a tale reminiscent of the protagonist in the independent offering “Diane” (2019). To that end, this is not a film where viewers should expect a lot of bells and whistles. But, like a good book and a warm blanket, it’s the kind of picture that’s perfect for curling up with on a rainy Saturday afternoon, a touching and heart-tugging drama filled with beautiful imagery and warm, loving characters, the kind who, like the small towns where they live, are all too unfortunately (and all too rapidly) disappearing from the landscape these days. The picture is available in various home viewing formats, including on cable and satellite TV, where it seems to have found a welcome home.

Even though this independent 2019 offering didn’t receive much fanfare, it did not go unnoticed in award competitions. Most notably, “Colewell” earned two Independent Spirit Award nominations for Allen’s stellar performance as best female lead and for the contest’s John Cassavettes Award, an honor bestowed to the best picture made for a film with a budget of $500,000 or less.

These days, it seems there are countless Noras and Colewells in the world, and their stories are indeed heart-wrenching. At the same time, though, these upheavals need not be the end of that world, either; it all depends on what we do with what we’ve been handed. The all-too-familiar images of making lemonade and seeing the glass as half-full readily come to mind, notions that some may take as modestly appeasing but ultimately clichéd sentiments. Nevertheless, there are grains of truth in those ideas, and they can be put to use to reverse our circumstances. And, if employed successfully, they just might bring us better news than anything we’ve ever received in the mail.

Copyright © 2020, by Brent Marchant. All rights reserved.

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‘Aniara’ seeks to provide direction to the adrift

“Aniara” (2018 production, 2019 release). Cast: Emelie Jonsson, Bianca Cruzeiro, Arvin Kananian, Anneli Martini, Jennie Silfverhjelm, Emma Broomé, Jamil Drissi, Leon Jiber, David Nzinga, Peter Carlberg, Dakota Trancher Williams, Otis Costillo Ålhed, Dante Westergårdh. Directors: Pella Kågerman and Hugo Lilja. Screenplay: Pella Kågerman and Hugo Lilja. Source Material: Harry Martinson, poem, Aniara. Web site. Trailer.

Starting over can seem like a dual-edged sword. In some ways, it may appear to be a tremendous opportunity to begin afresh. In other ways, though, we might feel devastated, completely overwhelmed by what we find ourselves up against. And, in the midst of that conundrum, we could be beset by the feeling of being totally adrift, unable to find our way, emotions not unlike those experienced by a group of space-weary travelers in the existential sci-fi offering, “Aniara,” available in various home viewing formats.

With Earth becoming increasingly uninhabitable, a group of intrepid colonists sets out to stake a new future on Mars. They make the three-week journey to the Red Planet aboard enormous spaceships, such as the Aniara, which is really more like a cruise liner than a lifeboat. The craft is equipped with an array of luxurious comforts, including 21 restaurants, a shopping concourse, a gym and spa, and numerous other recreational activities. But perhaps one of the ship’s most intriguing amenities is the Mima Hall, a facility featuring a highly specialized form of artificial intelligence that’s able to tap into the consciousness of those who link with it. The Mima reads the thoughts, minds and memories of passengers, providing them with vivid, tailor-made virtual reality images of nature, particularly those of a time when the Earth was pristine. In this way, the Mima is designed to put the colonists’ minds at ease, assuaging any anxieties they might have about space flight, smoothing the transition to their new lives and leaving them with positive thoughts about the world they’re fleeing.

The spaceship Aniara prepares to embark on its journey to Mars in the existential sci-fi offering “Aniara,” available in various home viewing formats. Photo courtesy of Magnet Releasing.

The Mima is administered by a specially trained host and technician, the Mimarobe (or MR) (Emelie Jonsson). She oversees the Mima’s operation and attends to the needs of passengers who have trouble adjusting to it, enhancing the quality of their experience. With such a soothing technology as this, one might think that the MR has her hands full attending to the needs of many eager users. However, as the Aniara embarks on its journey, there’s surprisingly little interest in the Mima, as most of the colonists are much more interested in partaking of the ship’s more conventional amenities.

Not long after the ship begins its journey, though, circumstances change drastically. When the Aniara is struck by space debris, the ship’s navigation capabilities are disabled, sending it off course and making it impossible for the crew to steer the vessel to get it back on track. The passengers are understandably upset, but the ship’s skipper, Capt. Chefone (Arvin Kananian), assures them that the crew will be able to rectify the problem as soon as the Aniara encounters a celestial body, where a gravitational slingshot effect around said object will enable restoration of the ship’s navigation capabilities, a process that he estimates will take no longer than two years to accomplish. However, for a group of colonists anxious to get on with their lives, two years is a far cry from the promised three weeks.

Given the change in plans, the crew begins making adjustments to operations. Thankfully, certain considerations, like air and food supply, aren’t issues; the ship’s advanced sustainability systems should enable these commodities to be available for a period far longer than two years if need be. However, despite the captain’s assertions that the ship will be able to get back on course, there are those on board who know otherwise, such as the Aniara’s resident astronomer (Anneli Martini), who quietly observes that there are no celestial bodies on the ship’s current trajectory capable of enabling the projected corrective maneuver. What’s more, given the passengers’ doubt about their fate, they start seeking solace in the Mima in numbers far greater than anticipated, overwhelming the MR and the technology she manages. Before long, the astronomer, the MR and the Mima all find themselves in jeopardy they never expected.

MR, the Mimarobe (Emelie Jonsson), oversees the operation of the Mima, a highly specialized form of artificial intelligence that links its users to tailor-made nature images to provide them with a calming effect, one of many amenities available aboard the spaceship Aniara, as seen in the existential sci-fi offering “Aniara.” Photo courtesy of Magnet Releasing.

Thus begins the saga of the Aniara as it moves through space toward an uncertain future. The story of this lost vessel, told in chapters at various points along its protracted timeline, depicts the many diverse developments that occur along its path. These include both personal stories, such as the MR’s relationships with her lovers, Isagel (Bianca Cruzeiro) and Daisi (Leon Jiber), as well as tales affecting the crew and passengers at large, such as those involving ad hoc incarceration, the emergence of various cults and a charismatic spiritual leader (Jennie Silfverhjelm), rescue efforts, and initiatives aimed at maintaining hope amidst ever-growing despair. And, through it all, everyone concerned is presented with opportunities to discover new things about their individuality, their humanity and their relationship to powers greater than themselves, a true space odyssey if there ever were one.

Given their circumstances, one would probably be hard-pressed to envy the fate of the crew and passengers of the Aniara. With such uncertainty hanging over them, they can’t count on the future they hoped for, let alone one that offers virtually any semblance of comfort or predictability. So what does one do in a situation like this, especially as resources begin to dwindle and familiar forms of consolation start to disappear?

Building a new life from scratch is a daunting challenge to be sure. In many ways, there are no rules (despite the crew’s attempts at trying to maintain an approximation of the civilized life the passengers have always known but that is quickly slipping away). So how does one proceed?

The Mima Hall, gathering place for users of the highly specialized form of artificial intelligence known as the Mima, provides solace to space-weary travelers in the existential sci-fi offering “Aniara,” available in various home viewing formats. Photo courtesy of Magnet Releasing.

That’s where each individual’s beliefs come into play, for they provide the basis of the conscious creation process, the philosophy that maintains we draw upon these resources in manifesting the reality we experience. And, in this case, the passengers and crew must draw upon their beliefs in their most basic form, those that reside in the core of their being, for they will provide the foundation for shaping the framework of the new existence they’re building for themselves. In that regard, they must ask themselves which beliefs will underlie everything that stems from them, as if they’re providing “an operating system” atop which all of their various “applications” will run. Is this to be a reality that draws upon hope-based beliefs for its character? Or will it be one that’s riddled with despair? Those are radically different approaches to the same basic task, methodologies that, in turn, are likely to yield radically different results. What will they choose?

To complicate matters, shaping a new paradigm is an act of co-creation, one in which the influences of multiple participants are involved. And, given the disparate outlooks each of them holds, there’s bound to be considerable contradiction at play, making the realization of a cohesive, integrated whole difficult to achieve. The beliefs of those who try to remain optimistic, such as the MR, clash with those of the naysayers, like the astronomer and Isagel, as well as those who insist on remaining dogmatically practical, such as Capt. Chefone. Is it any wonder, then, that the future of those aboard the Aniara remains in limbo as everyone tries to sort out what they think they want both for themselves and the collective?

Without a doubt, these circumstances present an opportunity to think outside the box, to let our imagination devise beliefs that surpass limitations and enable us to explore possibilities never before dreamed of. On a somewhat mundane level, for example, that becomes visible through the solutions devised to address the practical problems of an everyday life that has been thrown seriously out of kilter. And, on a more sacred plane, that becomes apparent through the various spiritual explorations that the passengers and crew engage in, both through the cults and individual introspection. In either case, not everything may work, but these circumstances at least give everyone a chance to stretch his or her creativity muscles, an opportunity providing them with a chance to become more proficient and more effective conscious creation practitioners.

MR, the Mimarobe (Emelie Jonsson), overseer of a highly specialized form of artificial intelligence known as the Mima, tries to maintain hope under deteriorating conditions aboard the spaceship Aniara in the existential sci-fi offering “Aniara.” Photo courtesy of Magnet Releasing.

However, if we indeed use the power of our beliefs to manifest our reality, one might legitimately ask why the passengers and crew created such dire conditions in the first place. But, as with any creation, the reasons behind our respective materializations are our own, and it’s no one’s place to question our motives. For instance, there may be a desire to learn particular life lessons driving these initiatives, and, in the case of those aboard the Aniara, one could argue that was inherent in their intent from the outset of their voyage – to experience what it would be like to begin a new life off the Earth. Their initial destination may have been Mars, and that plan is obviously now out the window, but the unanticipated journey on which they now find themselves ended up yielding a creation with the same underlying intent – the construction of a whole new life from the ground up. The passengers and crew may have indeed created for themselves circumstances far more challenging than originally envisioned, but the goal is arguably the same. This thus illustrates the phenomenal intrinsic power of our beliefs. It also aptly shows us how we must be careful in wielding that power, because we may end up getting far more than we bargained for.

The film’s various story threads also examine how we deal with certain aspects of life in light of such drastically changed circumstances. For example, “Aniara” explores how to handle the loss of the creature comforts to which we have become so accustomed in the wake of dire new conditions, something the colonists would have had to address in their new lives regardless of whether or not they had successfully reached the Red Planet. Likewise, the picture’s narrative brings to life various aspects of religion – salvation, redemption, confession, surrender, etc. – that many of the passengers are familiar with, giving them firsthand experience in dealing with them on a level they’ve probably never done before. These initiatives could all be considered part of the larger question of the passengers and crew creating a new world for themselves, but, given the prominence these considerations likely occupy in their lives, they could be almost as daunting in and of themselves as the bigger issue being addressed.

All in all, there’s quite a full plate at work here, and one could easily be overcome, as evidenced in the experiences of some of those aboard the wayward vessel. In many respects, the story of the passengers and crew serves as a powerful cautionary tale to those of us facing comparable circumstances. That’s not to suggest that we’re likely to find ourselves on a spaceship headed into unknown regions of the galaxy, but we could experience situations where we’re having to start over and build from the ground up. How will we handle that? Can we sustain our will to endure? Or will we give in to our sense of “despairing” (the translation of the ancient Greek word “aniara” from which the ship ironically derives its name)? We might want to take a cue from those on board the Aniara, for better or worse, to get ourselves started.

The relationship between MR (Emelie Jonsson, left) and her partner, Isagel (Bianca Cruzeiro, right), undergoes a series of ups and downs when their spacecraft, the Aniara, unexpectedly goes off course in the existential sci-fi offering “Aniara,” available in various home viewing formats. Photo courtesy of Magnet Releasing.

This ambitious existential sci-fi offering, based on a Swedish poem of the same name by Nobel Prize winner Harry Martinson, makes a valiant attempt at transcending the content, substance and style typically associated with other films of the genre. However, due to an underdeveloped script, an overreliance on viewer knowledge of the source material, occasionally uneven pacing and a need for some judicious editing, the picture doesn’t quite rise to the greatness it might have been truly capable of. The film’s impeccable production design, superb special effects and fine performances are augmented by nods to a variety of other sci-fi works, including “Solaris” (2002), “Gravity” (2013), “Passengers” (2016) and Battlestar Gallactica (1978-79, 2005-09), as well as allusions to such diverse offerings as “Midsommar” (2019), “Eyes Wide Shut” (1999), “Tommy” (1975)  and various tales of hopelessly adrift seafarers. Its prolific references to matters religious, spiritual, metaphysical, environmental and sociopolitical pepper the story, sometimes effectively, sometimes not so much, resulting in a grab bag of enlightenment, frustration and assorted enigmas. In an age where our own world is seemingly being turned upside-down, the insights of this story – had they been better developed – could have been a godsend to a weary population, providing us all with a new, clearer understanding of where we’re at and where we’re headed. But, unfortunately, “Aniara” comes up short of achieving that goal – and at a time when we could use it most.

When we find ourselves adrift, treading water may help us stay afloat, but it also won’t get us anywhere. And, when we’re lost in the great expanse of the ocean (or the heavens, for that matter), a maneuver designed to merely keep us stationary might not seem like much help. However, it can buy us valuable time to sort out our circumstances to devise a solution that could prove to be a life-saver, a shining beacon of encouragement at a time when all else may seem hopeless.

Copyright © 2020, by Brent Marchant. All rights reserved.

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‘Yes, God, Yes’ explores the depths of sex and spirit

“Yes, God, Yes” (2020). Cast: Natalia Dyer, Timothy Simons, Donna Lynne Champlin, Susan Blackwell, Alisha Boe, Wolfgang Novogratz, Francesca Reale, Parker Wierling, Allison Shrum, Teesha Renee, Tre’len Johnston, Matt Lewis. Director: Karen Maine. Screenplay: Karen Maine. Web site. Trailer.

The mystique underlying highly personal subjects like sexuality and spirituality is undeniable, something that’s tailor made to our individual needs and sensibilities. So how is it that some of us feel we can dictate the terms of these matters to others, as if our views were the last word and not to be questioned? How is it that such canned perspectives can realistically fit everyone? And why must those who disagree with these outlooks be ridiculed, bullied or punished for their dissent? Those are some of the rather heady questions addressed in, of all things, the raucous but insightful new teen comedy, “Yes, God, Yes.”

Adolescence can be difficult enough all by itself, but it can be even more challenging when under the thumb of one’s peers, family and environment. So it is for Alice (Natalia Dyer), a student at a Catholic high school, presumably somewhere in the nation’s heartland. At a time when she curiously begins exploring typical teen matters, like her emerging sexuality (particularly the pleasures of “self-love”), she’s anxious to see what it’s all about, despite the harsh admonitions from her teachers and the school’s resident priest, Father Murphy (Timothy Simons), that it’s a mortal sin guaranteed to assure her a one-way ticket to hell. What’s more, in addition to such warnings, Alice (like all of her peers) is constantly reminded of the consequences of being too outwardly provocative by faculty watchdogs like the seemingly ubiquitous Mrs. Veda (Donna Lynne Champlin), who aggressively writes up students for the slightest infractions of the school’s dress code and behavioral expectations.

Needless to say, Alice cowers in nearly perpetual dread. She keeps her feelings locked up inside, afraid to admit them to anyone except her friend Laura (Francesca Reale), and even that makes her somewhat uneasy, especially when rumors about alleged but untrue erotic incidents involving her mysteriously begin circulating among her classmates. However, despite the risks involved in coming clean, she can’t deny the need to unburden herself about these powerful urges. She feels compelled, albeit reluctantly, to confess her infatuation with the steamy below-decks sex scene in “Titanic” (1997), something she watched three times in a row during a recent viewing thanks to her VCR remote’s handy rewind function. But things get ramped up even more not long thereafter when she unwittingly engages in a racy AOL chat room exchange with another user. There isn’t a shower cold enough to put out the flames of her desire.

Circumstances take an unusual change not long thereafter. While having lunch at school one day, Alice and Laura run into their once-subdued classmate Beth (Teesha Renee), who inexplicably appears to have undergone a remarkable transformation, one that has enabled her to blossom with a radiant glow. This unexplained conversion even seems to have altered Beth’s circle of friends; suddenly she’s seen in the company of the popular kids, like Nina (Alisha Boe). One could say it’s a miracle.

When Alice asks Beth what prompted this change, her luminous friend says it came about after attending a four-day religious retreat with her peers. The effect is so appealing to Alice that she’s convinced she needs to have the same experience. And so, with Laura in tow, they sign up for the getaway, to be held at a secluded wooded location.

The retreat proves to be quite a revelation, and in many more ways than Alice expected. She quickly finds she’s not alone when it comes to her emerging sexuality. In fact, her mere interest in things erotic pales in comparison to the acts engaged in by her peers, including some from whom she never would have expected such behavior. On top of that, Alice’s hormones get a supercharged boost when she’s assigned to work with a facilitator for whom she carries an enormous torch; indeed, the time she spends with Chris (Wolfgang Novogratz), a kind and handsome football player, is an exercise in excruciating restraint, particularly when he sends what appear to be decidedly mixed but nevertheless hopeful signals toward his impressionable young charge.

At the same time, though, the retreat also proves to be a difficult time for Alice, especially when she’s found to have broken some of the rules, acts that earn her penance for her “transgressions.” She also learns that she’s become the object of more rumors, some of which followed her from home and others of which arise over the course of the event. Those developments, combined with the rampant hypocrisy she witnesses, as well as the seemingly ever-present judgmentalism inflicted upon her, prompt Alice to leave the retreat during an evening campfire. She wanders along a nearby highway, eventually ending up at a roadside bar, where she meets the owner (Susan Blackwell), who proves to be the most insightful mentor she meets all weekend. Through this encounter, Alice gleans understandings about herself, her life, her sexuality and her faith that prove far more important than anything the retreat ever could have taught her. Indeed, getting away from it all can truly provide us with a fresh new perspective, one that’s more fitting and fulfilling than anything the so-called experts could ever supply – even those who claim to speak for God.

When it comes to matters as patently intimate as sexuality or spirituality, we find ourselves on some of the most personal and profound turf onto which we’ll ever venture. The decisions we make for ourselves in these areas are based on our sensibilities, choices made on the basis of our individual likes, leanings and proclivities. But what’s most important is that these determinations are ours – and no one else’s business.

Growing comfortable with such notions can be challenging when we’re in our youth. Since we’re uncertain about our world, we tend to be eminently impressionable, easily swayed by the influences around us, particularly those in seeming positions of authority. But are those authoritarian dictates what we truly believe deep down inside? Do their pronouncements genuinely resonate with who we are? And, if not, what do we do about it?

The key in bringing our own vision into being, especially when it comes to such highly personal matters, is identifying and embracing our innermost thoughts, beliefs and intents, the building blocks of the conscious creation process, the philosophy that maintains we draw upon these resources in manifesting the reality we experience. Of course, given the gravity involved in questions of sexuality and spirituality, we’re dealing with subjects charged with tremendous intensity and sometimes-inscrutable depth, areas in which answers may be hard to come by and choices could be easily questioned, particularly when brought under scrutiny by demanding outside sources. Under those kinds of circumstances, it’s no wonder someone like Alice, with limited life experience, might feel lost.

To grow comfortable with ourselves in these areas, we need to develop faith in our beliefs and trust their veracity. If they’re not right for us, we’ll discover that quickly enough, a signal that will tell us we’re on the wrong path and need to keep looking. But, by contrast, when they do feel right, we’ll know that, too, and likely just as fast. When we recognize that, we’ll know we’ve found what we were looking for. And this applies in virtually every area of experience, not just sexuality and spirituality.

Having come to this realization, we’ll also know how to assess the beliefs of others. We’ll be able to recognize the place, if any, that they hold in our own palette of beliefs. And, the more committed we are to our own convictions, the more we’ll be able to courageously stand up to those who assert viewpoints different from us. This is important for galvanizing ourselves in our own positions, enabling us to hold our own with others who would challenge us or try to unduly change our minds. Again, this is crucial with regard to our beliefs in any area of endeavor, but it’s especially critical for matters as personally intimate as sexuality and spirituality.

In the end, adopting such stances is essential for becoming our true, authentic selves. Allowing that portion of ourselves to come through is imperative if we hope to achieve satisfaction, joy and fulfillment in life, especially in such areas as our relationship with our bodies and our connection to the divine. And, when we see those manifestations realized, we may well be tempted to exclaim “Yes, God, yes” before grabbing for that requisite cigarette.

This charming and poignant teen comedy about a naive Catholic school girl who discovers the forbidden joys of sexuality in a generally unaccepting environment transcends the silly and unimaginative qualities often associated with films of this genre. Although the picture drags in a few spots and could stand to have been somewhat more daring at times, director Karen Maine’s debut feature serves up ample laughs without resorting to cheap tactics, often getting considerable mileage out of gestures as simple as facial expressions and other visuals that speak volumes. But, even more significantly, the film’s insights in other areas, such as judgment and self-determination, deliver spot-on messages that expose the hypocrisy and outright silliness often preached by organized religion. The picture’s superb ensemble cast, creative cinematography, impeccable editing and excellent background score add to the production’s many other fine attributes, making this release one well worth viewing. This smart, sexy, sweet offering is well deserving of all its accolades – not to mention a wide audience.

If everyone believed the same way in matters of sex and spirit, we’d have a much less colorful world. But just because we hold different viewpoints doesn’t mean we have to browbeat others into submission to get them to agree with us. In fact, when taken together, the various expressions of these issues combine to create a gorgeous mosaic, one to be admired for its beauty and diversity, the very qualities that make sexuality and spirituality such valuable and fulfilling aspects of our existence.

Copyright © 2020, by Brent Marchant. All rights reserved.

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Tune in for The Cinema Scribe

Tune in for the latest Cinema Scribe segment on Bring Me 2 Life Radio, Tuesday, July 21, at 2 pm ET, available by clicking here. And, if you don’t hear it live, catch it later on demand, with new listening options available! In addition to Spreaker, the show is now available on iHeart Radio, Spotify, Podcast Addict and Podchaser!

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This Week in Movies with Meaning

Reviews of “Portrait of a Lady on Fire,” “The 11th Green” and “Balloon” are all in the latest Movies with Meaning post on the web site of The Good Media Network, available by clicking here.

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‘Lady on Fire’ fans the flames of forbidden romance

“Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”) (2019). Cast: Noémie Merlant, Adèle Haenel, Luàna Bajrami, Valeria Golino. Director: Céline Sciamma. Screenplay: Céline Sciamma. Web site. Trailer.

Asserting our right to openly proclaim who we love seems like a birthright we should all possess without hindrance. But, under some circumstances, doing so may be difficult, especially when we’re pressured to conform to the dictates of others. That’s unfortunately true even today, but it was far worse in the past, when social sanctions and familial obligations were much more restricting and pervasive, as illustrated in the French period piece drama, “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”).

In 1760 France, Parisian artist Marianne (Noémie Merlant) is consigned to paint a wedding portrait under unusual circumstances. She journeys to an estate on the French seacoast, where she meets her client, a lonely middle-aged countess (Valeria Golino), who has asked the artist to paint a likeness of her daughter, Héloise (Adèle Haenel), whose hand has been promised in marriage to a Milanese gentleman she has never met. As straightforward as this might sound, however, the agreement comes with a number of strings attached. The most notable of these is that Marianne must paint the portrait from memory and observation, because Héloise refuses to pose for a project of this kind, a frustration that Marianne’s predecessor discovered and that eventually brought an end to his efforts at creating a finished work.

As an unwilling subject for a consigned wedding portrait, bride-to-be Héloise (Adèle Haenel) seeks ways to get out of posing for the painting in the French period piece drama, “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”), available in various home viewing formats. Photo courtesy of Neon.

Héloise’s unwillingness to cooperate stems from the fact that she doesn’t want to get married in the first place, especially under arranged circumstances like these. In fact, she was not to be married off in the first place, a dubious distinction accorded to her sister, who died mysteriously and unexpectedly. With her sister’s untimely demise, Héloise was tapped to fulfill the family marital obligation, a commitment she loathed to honor, mainly because, prior to her unforeseen recent return home, she had been living a contented life in a convent, a place where she enjoyed the “equality” of being entirely among women. And now, by being forced into an undesirable arrangement, she’s not about to make matters easy for those coercing her into it.

Furthermore, the countess explains to Marianne that she’s not to reveal herself as a painter to her subject. Instead, she’s to pass herself off as a “companion” for Héloise, someone to spend time with her, accompanying her on walks and engaging in other genteel activities. It’s during these times together that Marianne is to gather her impressions of her subject, sketching them from memory when by herself or discreetly without Héloise’s knowledge when they’re together. Additional details about Héloise’s character, manner and qualities are to be quietly supplied by the estate’s maid, Sophie (Luàna Bajrami), who clandestinely helps Marianne “fill in the blanks.” And, from these memories and observations, Marianne is expected to paint the portrait, all without her melancholy subject’s awareness.

At first, Héloise is reluctant to spend time in Marianne’s company, unsure of why this mysterious, newly arrived stranger has come to the estate. She acts as if she’s constantly on guard, suspicious that her mother may have planted a spy in her midst. She often responds brusquely when conversing with Marianne, seemingly ever on the defensive. She even seems to share some of the same self-sabotage qualities of her late sister. Yet, as time passes, Héloise discovers that Marianne shares many of the independent-minded ideas that she holds dearly. She even envies her new companion, particularly with regard to the fact that she appears to have choices in her life that she herself lacks. And, as time passes, they appear to be on the verge of becoming friends.

Parisian portrait artist Marianne (Noémie Merlant, left) and her initially reluctant subject, Héloise (Adèle Haenel, right), grow unexpectedly close the more they work together in director Céline Sciamma’s latest offering, “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”). Photo courtesy of Neon.

When the time comes for Marianne’s big reveal approaches, she has misgivings about having deceived Héloise. She dreads the reaction she’ll get. Yet, much to her surprise, Marianne finds Héloise unexpectedly receptive, even when Marianne intentionally defaces the portrait as a ruse to paint a new one – and to get to spend more time with her new friend.

Needless to say, the countess is initially outraged by what has happened, calling Marianne a complete incompetent. But, when Héloise agrees to pose for the replacement painting, a startling decision that shocks the countess, she relents and allows Marianne to start over, convinced that a posed portrait could turn out even better than the one envisaged in her original plan. The artist thus gets a second chance to create the painting, to be finished by the time the countess returns from a trip.

In the countess’s absence, Marianne and Héloise begin work on the new portrait. Héloise feels a sense of liberation by posing for someone whom she considers an independent kindred spirit. They grow ever closer, developing a new level of intimacy that transcends friendship. They spend a glorious time together, their feelings of romance surfacing without hindrance or restriction.

But what’s to happen upon the return of the countess? Soon it will be time for Héloise to be joined in marriage. Will she go through with it? And what will happen to the torrid relationship that has been blossoming in recent weeks? With a woman on fire, it may be difficult if not impossible to extinguish the flames.

Parisian artist Marianne (Noémie Merlant, right), assigned to paint a wedding portrait exclusively from memory and observation, seeks input from her reluctant subject’s maid, Sophie (Luàna Bajrami, left), to help “fill in the blanks” about the bride-to-be in “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”), available in various home viewing formats. Photo courtesy of Neon.

At a time when women were genuinely treated as little more than chattel property, the frustrations they experienced were unbearable. The pervasive restrictions and limitations placed upon them kept them locked into incessant states of submission and subservience, with virtually no choices and almost no hope of escape from their circumstances save for the drastic measures apparently chosen by women like Héloise’s sister. And, as for Héloise, she was callously thrust into becoming a substitute for her sibling when the possibility of an obligation going unfulfilled arose, treated as little more than a commodity in a predetermined transaction. How demeaning.

Options for overcoming these confining conditions were almost nonexistent. Even beliefs in the possibility were scarce, though they were not inconceivable, even if difficult to achieve. But, to get the process moving, one at least had to be able to envision such a possibility, an outcome hatched through one’s thoughts, beliefs and intents, the building blocks of the conscious creation process, the philosophy that maintains we draw upon these resources in manifesting the reality we experience.

In many regards, Héloise feels trapped, unable to extricate herself from these circumstances. She’s oppressed by seemingly everyone around her as they thoughtlessly and thoroughly dictate the conditions of her existence, a life that makes her time in the convent seem like an emancipated experience by comparison. She’s so disgusted by the prospect of what now awaits her that she seeks perpetual seclusion. She seems so despondent that her mother worries that she might befall a fate not unlike that of her sister, a concern that makes the countess grateful for Marianne’s presence to keep an eye on her daughter (especially for their walks along the jagged seacoast where her sibling’s lifeless body was found). She’s so convinced that there’s no escape that the only way she might be able to flee from her plight is to take matters into her own hands, an explanation for her self-sabotage tendencies.

An unexpected romance blossoms between portrait painter Marianne (Noémie Merlant, right) and her once-reluctant subject, Héloise (Adèle Haenel, left), in “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”). Photo courtesy of Neon.

But, much to her own surprise, Héloise finds that there may be hope for her when she becomes inspired by the example set by Marianne. Her comparatively unshackled friend provides her with a model for living life differently, a way of being more in line with what she craves. And, as this scenario unfolds, Héloise’s beliefs begin to change. Suddenly she finds herself facing the possibility that life could indeed be better than what she has typically been experiencing.

Several significant qualities accompany this unexpected change. For perhaps the first time in her life, Héloise experiences – and enjoys – the ecstasy that comes with feelings of personal liberation and independence, a rarity not only for her, but also for women in general of her time. And, as her feelings for Marianne emerge, Héloise’s passion for acting on these heartfelt instincts surfaces, a bold and impressive accomplishment given the forbidden nature of the relationship in which she engages. She no longer feels the need to deny herself what she believes makes her feel whole; the days of seeking self-imposed seclusion and solitude to cope with her circumstances become a thing of the past.

Taken together, Héloise’s embrace of the new beliefs behind these feelings and attributes represents the emergence of something even greater – her recognition, acceptance and nurturing of her authentic self, something she’s been restricted in expressing prior to this point. In fact, she’s so enthusiastic about the manifestation of her newfound self that she even inspires her inspiration – Marianne – enabling her to let her authentic self flower more profusely. At this point, Héloise is not the only lady on fire.

As Héloise becomes more aware of her authentic self, so, too, does Marianne, and in unexpected ways. For instance, it’s obvious Marianne has quite an ethical streak that runs through her being, and that’s why she feels so guilty about initially deceiving her new friend about her true self. Such behavior goes against her nature, and she’s pained by the fraud she’s perpetrated on Héloise. When she at last has an opportunity to allow her authentic self to come through, she’s thoroughly relieved. It enables her to be genuine, something that strengthens her bond with Héloise and allows their relationship to grow and prosper.

Once-secluded bride-to-be Héloise (Adèle Haenel) becomes a lady on fire, literally and figuratively, after the onset of a torrid romance in director Céline Sciamma’s latest, “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu”), available in various home viewing formats. Photo courtesy of Neon.

What’s perhaps most important about all this is that these circumstances allow Marianne and Héloise to serve as an inspiration to others similarly situated, a development that had to have been important at a time when such sources of support and encouragement were hard to come by. This is the conscious creation concept of value fulfillment at work, the notion that urges us to be our best, truest selves for the betterment of ourselves and those around us. This is not to suggest that Marianne and Héloise were ready to lead 18th Century versions of a women’s march or Pride parade, but they quietly added their consciousness and energetic input to movements that were quietly being birthed for future emergence. Initiatives like this have to get their start somewhere, even if their materialization doesn’t occur until sometime down the road, and we have individuals like Marianne and Héloise to thank for that.

While this film has a great deal to offer – gorgeous cinematography, exquisite staging and superb performances – this French period piece drama about forbidden romance simultaneously gets weighed down by such issues as sluggish pacing, an anticlimactic and often-predictable script, extraneous story threads, and an occasional lacking in gut-level believability. Director Céline Sciamma’s latest is indeed a joy to look at, and its content certainly constitutes an earnest, heartfelt attempt at a liberated lesbian manifesto. But, despite such apparent sincerity, the film sometimes comes across as somewhat tentative and restrained in going all-out for what it really wants to say (something of an irony for a picture with a title that includes the words “on fire” in it). To be sure, this is a fine piece of filmmaking in many regards, but rising to the level of “masterpiece” – a term that has been freely bandied about in describing this film – requires more than what’s served up here. The film is available for screening in various home media formats.

The foregoing criticisms aside, this 2019 release was widely recognized in a number of competitions and at film festivals. The picture was a nominee for best foreign language film in the Golden Globe, BAFTA, Critics Choice and Independent Spirit Award contests. In addition, the National Board of Review named the picture one of 2019’s top 5 foreign films. But the film’s greatest success came at the Cannes Film Festival, where it took top honors for best screenplay and won the Queer Palm Award for best gay cinema offering, along with a nomination for the Palme d’Or, the event’s highest honor.

It seems only natural that we should be free to be who we truly are, especially in matters of the heart. Yet there are so many instances, in romance and otherwise, where others try to control us (and we, regrettably, often allow them to). But, by being willing to live our lives as our authentic selves, and by empowering ourselves with beliefs to make that possible, we have an opportunity to fulfill that burning desire to be ourselves. And, if we’re able to make that happen, we truly have an opportunity to set our lives and our world ablaze with a glory unimaginable.

Copyright © 2020, by Brent Marchant. All rights reserved.

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